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When you re shooting the photos you plan to make into a panorama, try to eliminate as many differences as you can among them Use a tripod so that your camera is always at the same level and isn t tiling left or right If your shots include patches of sun and shadow, bracket your exposures so you ll have choices to avoid shadow on one photo abutting light on another Elements recommends that you shoot all your photos from one spot, simply panning your camera left and right to take all your photos This time, Elements is wrong If you do that, any horizontal lines will be running uphill or downhill in some of the pictures You re better off walking parallel to your subject matter, stopping and setting up your tripod, and then shooting a new photo Your photos should overlap by 30 to 50 percent Less or more may cause problems when the software tries to find overlapping points If your camera permits, lock your camera s aperture so that changes in lighting won t cause changes in depth of field Let the shutter do the adjusting for exposure The five shots of the San Antonio Riverwalk in Figure 5-9, as we ll see, are not sterling examples of this advice AS A MATTER OF FACT Shutter speeds aren t that crucial in most panoramas because the subject matter is often something as unmoving as a mountain range or a cityscape If you want a panorama of a scene with action, such as a bike race, enlist the aid of friends with digital cameras and space yourselves along a city block Eliminate as many differences among you as you can, such as focal length, each person s distance from the street, and camera level Use walkie-talkies, stopwatches, or signals from someone all of you can see to ensure you click the shutters at the same time.

$4,500,000

Mass of Mg (g)

Once you ve selected the picture files you want in your panorama, leave the first pass to Elements In our collection of photos in Figure 5-9, some are exposed lighter or darker than average And the riverbank in one shot abruptly climbs uphill to the right Elements manages to put together three of the photos anyway, as shown in Figure 5-10 Elements wasn t able to cope with the fact that the shot on the far right slopes up Selecting the Perspective setting in Photomerge transformed the photo by widening one end so the riverbanks stay level Photomerge can t handle the differences in exposure between the first and second frames, and it can t figure out how the last two shots fit together It s time for some human intervention

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The formula to calculate the payout rate (also known as the slope in the math world) is to simply divide the pay by the performance, or A divided by B, presented as a calculation: A compensation B performance payout rate (slope)

21 drops HCl (if needed)

Fitting the last two shots into the panorama isn t hard Drag down one of the remaining shots It and the already assembled photos both remain visible as you slide the single shot over the fledgling panorama Plenty of objects, such as the table umbrellas, match in adjacent pictures Line up two of them, and Elements finally makes the connection and eases them into place, making little adjustments of its own

22 drops HCl (if needed)

Here is the formula expressed as numbers: $100,000 $2,000,000 100 5%

24 drops HCl (if needed)

The differences in exposure are noticeable mostly on the water By using the Magic Lasso tool to draw a line around a selection that needs fixing, we limit the work area Passing the Dodge Tool over the selected areas a few times lightens them to match the rest of the water The boundary between the original and lightened areas takes some work by the Smudge and Blur tools to hide the telltale evidence of a seam The results are in Figure 5-11 A print of the panorama, at 300 pixels per inch, would be 52 12 inches

Multiply by 100 to move the decimal point to change the resulting division outcome from 05 to 5% for notation purposes The flat commission schedule (see Figure 6-2) displays the sales compensation plan when published for sales personnel

25 drops HCl (if needed)

They shouldn t call them still pictures By slowing down your shutter so that anything speeding in front of the camera would be captured as a blur, you can pack a lot of motion into a still picture But what if your subject isn t moving at all The digital darkroom comes to the rescue

Flat Commission Schedule Sales Performance All Sales Commission Rate 5%

substance was the limiting reactant at the end of step 5, step 6, and step 7 How were you able to determine this

How you add speed to a subject depends on your subject and your point of view (POV) In Figure 5-12, we have a train that appears to be sitting still If it were a running person, we d have to be cautious about how we make it appear to be moving because heavy-handed special effects can look phony Because trains really do move fast, we can knock ourselves out making this one go supersonic

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